RXZlbnRib3g=

VFRUIDIwMTItMjAxMyBCcnVzc2Vscw==

Ultima Vez organised a 3 week long workshop from September 9 - 12, 2012 in the Ultima Vez studios Brussels (BE).

During these 3 weeks, the 40 invited participants worked together with renowned teachers in both theater and dance: Jeremy Killick (Forced Entertainment Theatre), Nicola Schösler (Hans-Werner Kroesinger, theatre), Mate Meszaros (Ultima Vez, dance), Laura Aris Alvares (Ultima Vez, dance) and Wim Vandekeybus (Ultima Vez. dance and theatre). The workshop was the starting point of the Ultima Vez Research Program, a unique laboratory for dance, theatre, music and combined arts with a two-part purpose: to establish a platform for research and creation (creative part), and to reflect on the proposed content/form and distill the transmitted information (reflective part). Participants were asked to document their experiences during the program, poured into any format or medium. The collected documents are part of a study about the transmission of the company's work through its education program as a complement to its performing activity.

This workshop was the starting point and preparation phase for a greater TTT session, directed by Inaki Azpillaga (Ultima Vez) and Charlotte Vandeveyver (Workspace Brussels), that is developed more intensively from October 2012 on and result in a 4 days long TTT program in June 2013. 

 

In June 2013, the theme of the aspect of documentating the dance teaching practice on a theoretical and practical level is deepened.

In a preparatory phase two lectures on documenting have been organised.  Laura Karreman, researcher at the University of Ghent has shared part of her PhD research project ‘Capturing Dance Movements’ by giving an overview of the documenting practices in recent dance history.  Florence Corin, of the documentation centre Contredanse has given an insight on the development of an interactive DVD on the life and work of Anna Halprin.  On a practical level the teachers were introduced to the video-editing program Final Cut Pro which will allow them to make video documentation of their work in the future.
 
The focus of this TTT week is both on the exchange of every teacher’s practice, as well as on the creation of a polyphonic documentation on each practice.  The teacher proposes for his/her teaching not only the content, but also one/several ways to document it and a format to share it with others.  Each individual document highlights different aspects of the teaching. The collective polyphonic documentation that emerges not only holds information for the teacher (the content of the class, the teaching method, how it is perceived by others, etc.), but it also creates a feedback system where participants teach each other and last but not least it can bridge artistic and pedagogical practice.
 
The content of the TTT-program originates in the project IDOCDE (International Documentation of Contemporary Dance Education) that is supported by the Lifelong Learning program Leonardo of the European Union. IDOCDE is a community network of contemporary dance teachers with the aim to learn from, support and challenge each other through documentation.  The 2 year pilot program (August 2011-July 2013) consists of a network of European dance educators from 12 partner organisations who meet regularly for exchange, peer research and the development of www.idocde.net. The aim of the website is to become a useful tool for contemporary dance educators worldwide. ‘Our’ group of teachers involved in this project had expressed the wish to have more chances to meet to reflect on teaching and documenting.

Some results of the TTT week are made public through the IDOCDE website by the end of June 2013. www.idocde.net
 
The participants are:
Anouk Llaurens, Ana Stegnar, Iñaki Azpillaga, Louise Chardon, Eva Maes, Juliana Neves, Florence Augendre,
Erika Faccini, Maya Dalinsky, Rob Hayden, Christine Sollie, Eleonor Campbell
 
Practical information:
Sun 2, Mon 3, Tue 4th of June at CarWash Theater, Antwerpen
Thu 6, Fri 7, Sat 8th of June at Ultima Vez, Brussels

 

report ttt-session Brussels in June 2013

BRUSSELS / ANTWERP – 2013

This Teaching The Teachers session, hosted by Jardin d'Europe in collaboration with Ultima Vez and workspacebrussels, took place over several encounters since January 2013. It consisted in a preparatory phase (PART I) and was finalized in a studio work period from June 2nd to June 8th, 2013, in Antwerp and Brussels (BE) (PART II).

A group of Belgium-based dance teachers were invited to exchange dance pedagogy practices and process this transmission through documentation. The core teachers were: Iñaki Azpillaga, Eva Maes, Ana Stegnar, Florence Augendre, Anouk Llaurens, Juliana Neves, Louise Chardon, Erika Faccini, Maya Dalinsky, Rob Hayden and Christine Sollie.

The content of our TTT-program originates in the project IDOCDE (International Documentation of Contemporary Dance Education) supported by the Lifelong Learning program Leonardo of the European Union, and emerges from the desire of the teachers group to teach each other and to deepen the understanding and practice of documenting which they ultimately value as a strong and important learning process.

The research, transmission and reflection during this TTT-program is oriented along two major axes of the question: “How can the process of documenting inform the dance teaching practice on a theoretical and practical level?” And therefore: “How might the practice of Teaching Each Other create a polyphonic practice and documentation that could work as a feedback system and as a bridge between pedagogic and artistic practices?”

PART I
The first part of the TTT session focused on learning from specialists that could support us in our teaching and ways of documenting it. This part was a preparatory phase with the aim of acquiring information, tools and skills to apply to our second phase.

To this end, we organized two lectures on documenting. Laura Karreman, researcher at the University of Ghent shared part of her PhD research project ‘Capturing Dance Movements’ by giving an overview of the documenting practices in recent dance history. Florence Corin, from Contredanse gave us an insight on the development of an interactive DVD on the life and work of Anna Halprin.

We also invited Felipe Mafasoli to introduce the video-editing software Final Cut Pro to the teachers, with the intention of enabling teachers to make video documentation of their present and future works. We consider video editing a key skill for composing, selecting, envisioning form, timing pace and rhythm, layering text and sound onto moving images, creating cuts and fades, inducting content, drawing out details, underlining unity and realizing the potential of articulation. Working with the medium video on a technical level while applying it immediately to the artistic work of the individual teachers is a way to widen the perspectives to potential ways for technology to enhance pedagogical approaches.

On a very different and practical level, an intensive first aid course by a red cross paramedic has trained the teachers in dealing effectively with possible injuries of their students.

PART II
The second part of the TTT session focused on ‘Teaching Each Other Through Polyphonic Documentation’: To share knowledge, take one another’s class and document it from multiple points of view. The collective documentation resulting from this exchange was seen as a feedback system that would inform each teacher about what people got from his or her class, but also allowed information to be shared between the participants.

On a practical level, this exchange was organized in two series of three days: Sunday 2nd, Monday 3rd, and Tuesday 4th of June at CarWash Theater (Antwerp) and Thursday 6th, Friday 7th, and Saturday 8th of June at Ultima Vez (Brussels). Any teacher taking part in TTT could make a class proposal and/or participate in the classes. Teachers were invited to frame a proposal where they would define: content, ways of documenting the content/class, and a format to share it with the other teachers and a wider public.

The teachers/participants exchanged a rich variety of dance practices and shared concrete approaches to transmitting information through documentation. In order to be able to share with a wider audience we made use of the IDOCDE website (www.idocde.net) by creating a folder per day/teaching practice to digitally host the ‘polyphonic documentation’. The contents of the exchange week in June and the resulting polyphonic documentation can be viewed through the links below (each link goes to a TTT folder on IDOCDE.net related to the respective class).

Part #1- Ana Stegnar / Sunday June 2nd Class of long movement experience inspired by Body-Weather, Skinner Releasing Technique, yoga, instant composition Incorporation of electronic devices to document during movement exploration Documentation supported by collective exchange, individual experience sharing, questionnaire provided by and completed for Ana, elaboration of Exquisite Corpse http://www.idocde.net/folders/31

Part #2- Louise Chardon / Monday June 3rd Class inspired by Body-Mind Centering (c). Application of Somatic Ballet Documentation proposed as a task during movement exploration and hands-on work in trios with the dynamics informed, informing, translating Added: a questionnaire provided by and completed for Louise
http://www.idocde.net/folders/33

Part #3- Juliana Neves / Tuesday June 4th Class of technical training inspired by hands-on work (D. Zambrano) and acrobatic practice, adding on to exploration of Emotional States and their physical expressions (inspired by long-term work development of Alain Platel) Documentation proposed as physical assignment, movement documentation exchanged physically, verbally and psychologically between partners http://www.idocde.net/folders/32

Part #4- Florence Augendre / Thursday June 6th Class inspired by Body-Mind Centering (c), Fasciapulsology, composition, including presentation of physiological contents and anatomical terminology, application into hands-on work in pairs, movement exploration and improvisation. Documentation proposed as revisitation of physical experience, partner function turning into witness, self- evaluation of 3 memorable items, individual automatic writing. Both writing exercises scaled by limited time-frame http://www.idocde.net/folders/38

Part #5- Eva Maes & Anouk Llaurens / Friday June 7th Co-taught class, first with Eva Maes guiding a Body-Mind Centering (c) exploration followed by Anouk Llaurens guiding an exploration using Tuning-Scores from Lisa Nelson. Presentation, verbal introduction of the work, shared guidance- leading to individual exploration of physiological state, observation of movement expansion in relation to time-space, observation of lifespan experiences Documentation proposed as to use devices/or tools within the sensation of body-mind expansion, collective sharing and feed-back
http://www.idocde.net/folders/35

Part #6- Iñaki Azpillaga & Rob Hayden / Saturday June 8th Co-taught class including outer-environment exploration, group wandering through the neighbourhood, visualization of places and objects, training of reflex imagery and words associations, followed by an indoor proposition including movement exploration based on guided images and influenced by physical experience of water puddle on dance-floor, added to sound exploration, vocal expression and experimentation of conducting rhythm composition Documentation proposed as collective harvest of observations, questions, opinions
http://www.idocde.net/folders/37

Note: the folders that are linked to should be considered as a work-in-progress.

 

GLOSSARY OF TERMS
(by Iñaki Azpillaga)

The following terms arose through the practices proposed by teachers and/or discussion, relating to either/both pedagogy and documentation or their mutual influence on one another.

CREATION formulated in EDUCATION mode and vice-versa: some educational approaches place more or less emphasis on creation and some creative processes deal with pedagogical content. The teacher determines the relationship between pedagogy and composition.

RESISTANCE: As opposed to ‘let yourself go’. As a response to difficulties that arise for example when shifting to a new proposal, adhering to the same material or practicing physical endurance. Alternate term: INNER NEGOTIATION.

IMAGERY and the force of poetry: the way teachers inspire participants through imagery, poetry and guided exercises can improve or reveal their view on the dance exploration.

PROPRIOCEPTION and IMAGINARY: INFORM much more than FORM

REVISITING an experience as a way to recover what was lived and what was sensed.

POSSESSION / INTANGIBILITY: The goal in some pedagogical processes is to POSSESS a form of knowledge (result-oriented). In other processes the goal may be to deal with the INTANGIBLE (processes-oriented).

The INTRUSIVE Documenter: The symbiotic attitude between mover, documenter and environment. The documenter, if not well-integrated, can be perceived as intrusive by the mover or even consider him/her-self as an intruder, an unwanted pair of eyes or a presence that alters the experience for the mover. Documenting as a performative act: accepting that the presence of the documenter alters the experience for the mover and the picture of the space.

MOVEMENT DOCUMENTS: Movement as a documental unity in itself extracted from an exploration or exercise.

Functionality of the Documents: Documents with a WITNESS function (journalistic) composed with more or less INFORMATION content (data, references... towards objective) and/or OPINION (towards subjectivity). Documents composed from the reflection with more or less witnessing function.

 

COLLECTIVE ASSEMBLY OF INDIVIDUAL QUOTATIONS
Each participant was asked to evaluate their participation and reflect on the TTT session. Below is a collection of impressions and quotes from individual evaluations that give an overview of the group’s questions, conclusions, needs and desires following the studio work period.

Ana Stegnar: “Documentation is useful to learn more how and what you teach...”

Louise Chardon: “As much pedagogy itself than documentation of a pedagogy, it is about finding the right language that suits you and what you have to share. (...)The cybernetic communication cannot supply the kinesthetic one! (...)This week particularly made arise for me the importance of our diversities and I admired a lot the rich and resourcing landscape we represent together.”

Christine Sollie: “It was a very inspiring and enriching week that keeps on resonating in my veins. I love the diversity of the group and the diversity of the proposed thematics. I was also pretty amazed by the beautiful and open way of critical communicating that has been built up between all of you. One could clearly feel that in the reflective after- talks.”

Juliana Neves: “Getting aware of how I teach, keeping track of what I teach... how I document, what to archive, why would I film? (...) To allow ourselves to engage as students, and reflect as teachers later on, with other really experienced teachers is such an opportunity to discuss, exchange, receive careful explanations.. a unique experience”

Iñaki Azpillaga: “Documentation process meeting reflection process... teaching and documenting contain challenges relating to communication.”

Maya Dalinsky: “You can learn through experience, which helps you shape your own intuition and methods, or you learn through theory, which gives you an overview of scientifically proven or peer-tested strategies, or you observe your colleagues... and this is a great way to observe each other's work, ask direct questions, compare experiences and strategies, while and after doing.”

Rob Hayden: “I felt there were very constructive (and at times ‘labyrinthian’) dialogues concerning issues about practical and/or aesthetic concerns. The questions of documentation and what form I choose to do it in are new to me. At this point, I see the documentation process as a way to give voice and articulate the material and direction of my questions as a teacher, performer, and composer.... The flow of exchange between my own research and that of others is also of great interest to me and this week installed that desire to continue that flow.... (...)It was interesting to see that some focused approach and methods of transmission while still others focused on dealing with the myriad of questions surrounding the process of documentation... bringing such polyphonic diversity of voice into a collective sphere of exchange and discussion.”

Anouk Llaurens: " I think that we succeeded as a group in starting the polyphonic documentation. It is still in progress. I am glad to discover everyday a new document, another point if view added to the folders. The beauty of the polyphonic documentation is that no one is in charge of the whole. The documentation can be made through fragments of experiences (to grab the whole of something seems anyway an illusion to me). To leave some gaps is a way to give space for visitors and invite them to rely on their own imagination, ability to make links and desire to know more."


TTT and IDOCDE: an essential partnership
IDOCDE is a community network of contemporary dance teachers with the aim to learn from, support and challenge each other through documentation. The 2-year pilot program (August 2011-July 2013) consists of a network of European dance educators from 12 partner organizations who meet regularly for exchange, peer research and the development of www.idocde.net. The aim of the website is to become a useful tool for contemporary dance educators worldwide.

The Belgian group of teachers involved in this project has expressed the wish to have more chances to meet to reflect on teaching and documenting. Because dance pedagogy and documentation are such vast disciplines, we feel that the TTT sessions and other modes for researching pedagogy and documentation would provide invaluable experiences in processing pedagogical practices through documentation and vice-versa. These experiences do not only increase the exchange of theoretical and practical knowledge between professionals, they also can be expressed, transmitted, shared and further elaborated through the IDOCDE website. In order for IDOCDE to continue to be a vibrant, thriving platform for exchange, it must be nourished through both individual and shared research and documentation. This project that places value in the evolution of dance education practices as such, will retain its dynamism only if it continues to foster professional exchange through partnerships with projects like ‘Teaching The Teachers’.

The results of the TTT week are made public through the IDOCDE website www.idocde.net.

«« back